Grylle are certainly not your conventional black metal act, and their latest offering, “Egrotants, Souffreteux, Cacochymes, Covidards,” continues to push the genre’s boundaries in unexpected ways. With a core sound built around medieval instruments, no electric guitars, and a radical concept, this French band walks a tightrope between innovation and tradition. While their commitment to medieval authenticity is commendable and refreshing, the album’s production and overall delivery left me feeling like something crucial was missing.

Formed in 2013, Grylle has made it clear they are not here to follow the mainstream black metal playbook. Their approach of using medieval instruments like the lute, flutes, psalterions, and traditional drums gives them a unique sonic palette. This album, steeped in themes of plague, disease, and societal decay, aims to evoke the atmosphere of the Middle Ages during times of pestilence. The band’s satirical and dark lyrical perspective offers a mirror to our modern world, drawing parallels between historical and current fears.

The use of spoken word tracks like the opening track “Grande Marche des Covidards” sets the tone for the album and “Réservement de Confortale Présence” is a bold choice that fits within the album’s narrative structure. While I’m typically not a fan of spoken word in metal albums, it makes sense here given the conceptual ambition. However, the transitions between these interludes and the more aggressive tracks lack fluidity, making the listening experience somewhat disjointed.

Tracks like “Mauvais Sang” and “Moribon Flétri d’Orgueil” continue the experimental journey. The interplay between medieval melodies and black metal fury is genuinely interesting, and Hyver’s vocal delivery is suitably raw and visceral. The inclusion of bass by KK brings a 70s prog element into the mix, which provides moments of unexpected groove. Yet, despite the clear talent and inventiveness, the overall sound feels restrained, as though the potential energy is trapped just below the surface, never fully exploding into life.

One of the more compelling tracks, “Le Triomphe de la Mort,” offers flashes of brilliance. The musical sections add a dramatic flair, and the eerie medieval instrumentation gives the piece a haunting quality. There’s an undeniable artistry here, and it’s clear that Grylle has a strong vision. But once again, the flat production undermines the impact, leaving the song feeling less powerful than it could be.

While I respect the band’s commitment to authenticity and creativity, I struggled to fully connect with “Egrotants, Souffreteux, Cacochymes, Covidards.” The songs often feel like they’re building to a climax that never comes, and the overall mix leaves the music feeling somewhat lifeless. The album’s narrative ambition is clear, but the execution falls just short of delivering the visceral impact I expect from black metal, even in its most experimental forms.

That being said, if you’re a fan of genre-bending metal and medieval music, there’s a lot to appreciate here. The craftsmanship behind the instrumentation is impressive, and the thematic elements are thoughtfully executed. Grylle is undoubtedly a unique voice in the black metal scene, and for listeners who appreciate experimentation, this album may offer a rewarding experience.

Final Verdict: ambitious and creative, but the flat production and lack of dynamism hold it back. I genuinely wish I enjoyed it more, as the potential is clearly there.

Rating: 6/10
Release Date: November 10th, 2024
Label: Antiq

Writer: Andy Baqone

Tracklist:

1. Grande Marche des Covidards
2. Mauvais Sang
3. Moribon Flétri d’Orgueil
4. Réservement de Confortale Présence
5. Le Tropique du Cancer
6. Queresle des Diables sur la Savance du Mort
7. Le Triomphe de la Mort